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The Souls-like genre has exploded in recent years, inspiring developers both seasoned and new to try their hand at crafting challenging and rewarding gameplay experiences. From AAA studios like Respawn Entertainment with Star Wars Jedi to indie darlings like Game Science with Black Myth: Wukong, the influence of Dark Souls is undeniable. Jyamma Games, a young Italian studio founded in 2019, joins this burgeoning field with Enotria: The Last Song, a Souls-like steeped in the rich mythology and vibrant culture of Renaissance Italy. But does this newcomer manage to stand out in a crowded genre?

Enotria: The Last Song – Gameplay Screenshot

Italian culture has long been a source of inspiration for the arts, including video games. Enotria: The Last Song draws inspiration from a lesser-known facet of Italian artistry: Canovaccio, a form of improvisational comedy theater popular during the Renaissance. These traveling troupes of masked performers would often incorporate satirical elements into their performances, lampooning the aristocracy and challenging authority. This spirit of rebellion and free expression forms the thematic core of Enotria: The Last Song.

Enotria: The Last Song – In-game Environment

A Visual and Auditory Feast

Jyamma Games has masterfully captured the essence of Renaissance Italy, crafting a visually stunning world brimming with light, color, and artistic flair. From sun-drenched Mediterranean landscapes to intricately designed architecture, Enotria: The Last Song is a feast for the eyes. The character designs, with their flamboyant costumes and distinctive masks, further enhance the game’s unique aesthetic. This visual richness sets it apart from the often-grim and oppressive atmospheres of other Souls-like titles like Dark Souls 3, Nioh, and Bloodborne.

Enotria: The Last Song – Characters and Masks

The game’s soundtrack, composed by Aram Shahbazians, also deserves special mention. Shahbazians, known for his work on Song of Horror and Cyberpunk 2077, delivers a score that perfectly complements the on-screen action. The use of tenor and soprano vocals, characteristic of Renaissance and early modern Italian music, adds a layer of grandeur and drama, particularly during boss battles.

Enotria: The Last Song – Open World Environment

Unfulfilled Potential

Despite its strong start, Enotria: The Last Song suffers from several technical and design flaws that hold it back from greatness. Technical issues, including mouse and keyboard freezing, can be frustratingly disruptive. Furthermore, enemy AI occasionally glitches, causing enemies to become unresponsive, allowing for easy exploitation.

Enotria: The Last Song – Combat Screenshot

While Enotria boasts a vast arsenal of 120 weapons, numerous skills, and a variety of masks, these options ultimately feel superficial. The balance between these choices seems off, and players will likely find a few preferred combinations early on and stick with them throughout the roughly seven-hour campaign. This overabundance of options ultimately detracts from the experience rather than enhancing it.

Enotria: The Last Song – In-game Music

Similarly, the enemy design, while visually diverse, lacks depth in terms of behavior. Most enemies rely on the same aggressive tactics, leading to repetitive and predictable combat encounters. This issue extends to boss battles, which, with few exceptions, follow a similar pattern.

Enotria: The Last Song – Technical Issues

Conclusion

Enotria: The Last Song is a game of contrasts. It offers a visually stunning and aurally captivating experience steeped in Italian culture. However, technical issues and underdeveloped gameplay mechanics ultimately hinder its potential. While the initial impression is promising, the game falls short of delivering a truly satisfying Souls-like experience.

Enotria: The Last Song – Enemy AI Issues